Into The Woods: Review of The Witch

The Witch

Director: Robert Eggers

By Alex Watson

Robert Eggers conjures up one of the most impressive debuts of 2016 in The Witch. Focusing on themes rather than outright scares push this movie to a new level of spooks. Set in the time of 17th century Puritans, there is a foreboding sense of eerie dread only minutes into the film. Eggers has confessed his own childhood fascination with witches and his picture doesn't resort to cheap gimmicks and instead forces us to look around us for the answers.

In 1630, deeply religious father William (Ralph Ineson) forces his wife Katherine (Kate Dickie) along with children to leave their New England plantation in search of their own land. When they find a spot they attempt to grow corn and live a righteous life. When their crops fail to materialize and their baby son disappears while in the care of daughter Thomasin (Anya Taylor-Joy) it becomes clear that all is not right with the land.

The Witch has a lurking sense of evil almost from the get go and as the family finds their land opposite a deep and scary woods- we hear loud and frightening wails. When Samuel disappears while Thomasin plays peek-a-boo with him, the family automatically assumes it was a wolf that dragged him away. Through the brief but unnerving glimpses of the creature, the audience knows far differently. This along with the failing crops causes the family to slowly break apart. The subtly of the evil on show is well done by Eggers and what starts with little things like the young twins continually whispering to a black goat soon starts to raise serious questions.

At the centre is a heavy religious vibe and with bad luck constantly striking this family we begin to wonder is this a curse from the almighty? Thomasin along with her younger brother Caleb (Harvey Scrimshaw) both recognise that their father's fanatical approach isn't the way forward. Though both fear damnation and reminiscent of the New England witch hunts, Thomasin is at first jokingly accused of witchcraft. What starts as being in jest soon escalates into sheer terror and suspicion and Katherine begins to lose her mind. Caleb is a boy being pushed into manhood prematurely and although he wishes to do good, he is in over his head. The moment when he comes across a beautiful incarnation of the witch is a sure-fire candidate for the biggest scare of the picture.

What is most impressive about this picture, is how Eggers continually maintains the tension. Among the Ye Olde English language, he only uses scares when absolutely needed. This comes in handy during a third act which in other hands could have fallen to pieces. Watching the family come apart as the devil likely wanders the outside the farm is devastating. Eggers tendency to use bizarre and unusual framing also adds to the discomfort. What is perhaps the most shocking is sheer unbelievability of the denouncement (spoilers to be withheld). After nearly two hours of our assumptions going back and forth- the truth is far more frightening than we could have imagined. Eggers emerges as a real star but his creatures although infrequent leaving a far more lasting impression.

Veteran British actors Ralph Ineson (best known as Finchy in The Office) and Kate Dickie give a fine and believable impression of fanatical parents both coping with grief in opposite ways. Dickie, in particular, is a barmy revelation as a mother who by her own admission tells us "My heart has turned to stone!" The picture, however, belongs to Anya Taylor-Joy in a star-making turn. Showing us innocence gradually becoming lost, Taylor-Joy goes from bright-eyed youth to desperate young woman pretty quickly. Sporting a presence that is unrivaled in Egger's film, this 20 year old actress is one to watch.

The Witch is one of the big surprises of 2016 and after finding an audience at Sundance it is odds on for the scariest experience of the year.

The Crimson Warrior: Review of Deadpool

Deadpool

Director: Tim Miller

By Alex Watson

Deadpool is certainly Marvel's funniest effort yet, but despite having the laugh factor it still has some kinks to iron out. It is great to finally have the foul-mouthed and lewd anti-hero that fans have been craving for but director Tim Miller for this installment doesn't quite stick the landing. Endless amounts of dick jokes come thick and fast and, for the most part, this quick-witted mercenary is a refreshing change of course.

Wade Wilson (Ryan Reynolds) is a former soldier turned mercenary who has been diagnosed with terminal cancer. Looking for a way out he turns to an unorthodox operation run by Ajax (Ed Skrein) which although gives him regenerative powers, also severely disfigures him. Eager for revenge on the man who ruined his life, Wilson gets a new red suit and christens himself Deadpool. All the while seeking to reunite with his love Vanessa (Morena Baccarin).

Deadpool is a movie that smartly defies convention and while set in the same world as X-Men it still feels free to mock it. Putting a different spin the origins story, Miller's movie forgoes the urge to delay the moment when its hero suits up. A deadly funny and supremely violent opening credits set on a freeway to 'Angel of The Morning' sets the tone up. In between this bloody and funny battle, we learn how he fell in love, how he believes Wham! earned their exclamation point with 'Make It Big' and finally made a life altering decision while his mouth runs riot. Wilson isn't made out to be a man seeking to do good and the movie does acknowledge that in some ways he is a dick. Deadpool is a hero that is far different from the sullen Wolverine in that he is talkative and has a love of breaking the fourth wall. Problem is that although his continuous smut is entertaining it starts to drag the film down.

The moments were the movie mocks it X-Men roots often feels like the movies weak link. Deadpool bemoans the budget only affording X-Men Colossus (Stefan Kapicic) and the teenage Negasonic Teenage Warhead (Brianna Hildebrand). Also, he wonders aloud whether Stewart or McAvoy will be back at the Xavier Mansion? Though it wonderfully puts a middle finger to the serious approach that Bryan Singer has brought, it leaves the movie with a very uneven feel. Its comic feel often distorts the movie's feel and although Miller has the laughs factor pinned down, the juvenile humor comes so often it feels like Van Wilder himself donned the red suit. After the failure of Green Lantern, Ryan Reynolds was keen to atone and you can tell that this guy is having a ball behind the mask.

One wise element of Deadpool comes from just how minor the central plot is. There is no world in danger or family to save, this guy is just pissed and wants to get even. Ajax is a villain who although lacks any kind of depth still carries a real presence. Getting his name from a cleaning product is openly mocked by Wilson as well as his real name. Still he is a typically ruthless and cold blooded British villain. The ending sequence is bound to sport a few giggles purely from how much funny is pumped into it. Just watch Colossus speech about how life has 'five moments' without nearly collapsing from the aftermath. Miller earns his points for creativity in this picture, though mainly because it's actually kind of cool hearing 'Careless Whisper' for once.

Ryan Reynolds has finally found the superhero that he can excel in and allowing his character is set a land speed record for talking is the movie's real fuel. Reynolds openly mocks his botched Green Lantern attempt and embraces his new found glory. Many have been skeptical of his ability to anchor a franchise, but this picture proves that he still has it in him. His character may not be perfect, but Reynolds gives Deadpool a likeability where other actors may have struggled. Ed Skrein earns points for pure presence and with little to work with he somehow comes out as one of the most offbeat Marvel villains for some time. Also credit to Stefan Kapicic for his sterling support worker as heroic but slightly clueless Colossus.

Deadpool might not be rank alongside X-Men or The Avengers in terms of being the strongest offering but it sure is the most entertaining. Tim Miller reminds us of precisely why we go to these kinds of movies, to have fun! The first installment still has the early bugs in the system, but nothing that can't be fixed for a sequel or three.

Age of Empires: Review of Hail, Caesar!

Hail, Caeser!

Directors: Joel and Ethan Coen

By Alex Watson

Once more the Coen Brothers turn towards Hollywood's Golden Age in their picture Hail, Caesar! Making great use of constant star cameos, this makes for a great satire picture. Running a major studio can bring all kinds of headaches and there are smart nods to the scandals involving such greats as Clark Gable and Esther Williams. Set against the backdrop of the Cold War where suspicions were heightened and showing the studio system beginning to break down the Coens return to this land is a success.

Eddie Mannix (Josh Brolin) is a 'fixer' for Capitol Pictures who has just run into a major problem. Hail, Caeser! is set to be their biggest picture of 1951 starring Baird Whitlock (George Clooney), the problem is the actor goes missing and a group called 'The Future' is demanding a ransom. Eager to get back Whitlock before all hell breaks lose, Mannix must also deal with pregnant star DeeAnna Moran (Scarlett Johansson) and struggling cowboy actor Hobie Doyle (Alden Ehrenreich).

Although Hail, Caesar! is filled with different story lines, somehow it manages to juggle them all without dropping the balls. The scandal and scare-filled nature of the 1950s are present and correct and Mannix has hands full dispelling rumors. The Coens in their film studio world are able to give nods all kinds of productions such as cheap westerns, well choreographed dance films and lavish aqua themed sets. The kidnap plot is almost secondary to everything else, who precisely are The Future? The big reveal shouldn't surprise many but the bickering between numerous intellectuals will for sure entertain. Mannix knows he has a headache on his hands because Whitlock is known for his binges and affairs but this one might be beyond his control.

The hints towards different scandals show off the Coens movie buff knowledge. DeeAnna wants to adopt her own unborn child to avoid a scandal while Hobie is struggling to play a straight role in contrast to his usual 'singing cowboy' job. Ralph Fiennes shows up here as the thespian director Lawrence Lorenz and incredibly gives a masterclass in comic relief attempting to direct his undertalented star. Also, there is the issue of power hungry identical twins and Thora and Thessaly Thacker (both Tilda Swinton) who are both Hedda Hopper type gossip columnists. With cameos popping a mile a minute including Channing Tatum as Gene Kelly type musical star and Jonah Hill as a cynical surety agent, the Coens are having a blast.

While Hail, Caesar! sings and dances well, there is also the issue of too many cooks spoiling the broth. The third act is possibly the weaker the picture and while it is typically random and unpredictable it perhaps doesn't completely satisfy. However, this is a minor blemish on the Coens good work and they succeed in keeping us entertained. Their ability to be able to hop between both deathly serious and light as a feather touches has really marked them out over time. Delving back into the scandal and red threats of the olden days has been the picture spark into life. Mannix may be always questioning his life, but he cannot function without the thrill of the unknown.

Josh Brolin makes for an engaging and capable lead, his dour yet excitable edge makes Mannix come alive. Smartly linking his guilt for continually abandoning his family for the chase to this devout catholicism, Brolin is the very presence the Coens need. Supported ably by George Clooney who is a wonderful mix of arrogance and cluelessness, his Baird Whitlock is a great nod to leads such as Kirk Douglas. His gradual reawakening to a new found cause sets him on a slippery slope. The real star of the picture is Alden Ehrenreich because easily he matches the big stars blow for blow and comes out with the pictures strongest performance. Hollywood take note of this one.

Hail, Caesar! may not win the battle of the box office against Deadpool or Zoolander 2 but it is still a funny and smart picture that deserves your attention. The Coen Brothers are always unpredictable, who knows what era that will focus on next time?

The Harder They Fall: Review of The Program

The Program

Director: Stephen Frears

By Alex Watson

The Lance Armstrong scandal finally has a dramatization by Stephen Frears disappointingly refuses to dig deep. Aside from a sensational central performance from Ben Foster, The Program feels light on the ground and is often catching up to its star. Although up close we see the various ways and means to which Armstrong stayed below the radar and cheated his way to seven Tour De France titles, it just doesn't feel adequate.

Lance Armstrong (Ben Foster)  is an American rider with a good reputation for one-day events but known for being useless elsewhere. His career ambitions are dealt a blow when he is diagnosed with cancer and both his team sponsors bail. When he hooks up with crooked doctor Michele Ferrari (Guillaume Canet) he is supplied with performance-enhancing drugs that boost his ability. Seemingly effortless capturing the Tour De France and the world's heart over and over again, Armstrong is living the dream. Journalist David Walsh (Chris O'Dowd) however, is not so convinced!

Opening an exhilarating shot of our hero/villain describing the thrill and danger of cycling, the mood is caught early on. The Program does not seek to vindicate or condemn Armstrong and Frears is simply telling a tale. Starting off Armstrong is a respected but not entirely complete rider who is mocked by his future boss Johan Bruyneel (Denis Menochet). His desire fueled by his own self-doubt is a dangerous tool and when he meets Ferrari and when he constructs the Team US Postal 'Blue Train', a monster is born! Unlike most sportsmen, Armstrong was a clever beast and it does capture the media and the public joy that this once broken man is now one of the world's best.

Frears seems reluctant to add more fuel to the fire during his picture and seems to assume that everyone knows enough for it to continue. Because of this oversight, we never really know that one thing that drives Armstrong to build the perfect. His scrutiny in the media is perfectly played and Walsh is a man possessed by his desire to expose an American hero. Smelling a rat watching a man previously useless on mountain stages sail away, Walsh sees through the fabrication when others can't. It was a truth none of us wanted to face, that Armstrong could possibly betray the public's trust? Rather than retreating when the heat increases, Lance becomes a more domineering threat to his teammates and other riders "I have the money and the influence to destroy you!" he tells one rider who talks.

The Program should translate into a gritty sports drama but Frears cannot find the middle ground to make this all click. When Walsh chops away at the credibility of the arrogant Armstrong there are sparks flying. Less examined is the key relationship between him and de-facto second in command Floyd Landis (Jesse Plemons). We see a pair of brothers eventually turned against one another when Lance throws him on the scrapheap when all eyes on Floyd. Disqualified 2006 Tour winner Landis' testimony was the game changing element to Armstrong exposure. When it hits we do feel the needed fireworks, only a quiet and disappointed reflection. Lance Armstrong is not made out to be a complete villain and his a unique mix of determination and cunning. There are flickers of compassion such as his visit to a cancer hospital which feels moving. When you live the ultimate fairy tale, don't expect a storybook ending.

Singlehandedly Ben Foster is the movie's yellow jersey and gives a fearless performance as Armstrong. Portraying him as a restless soul yearning for the ultimate prize, he gives the formal ideal and wonderful scrambled morality. Willingly taking the ultimate risk, he shows the Texan's growing confidence in his ability to convince others to follow. Easily a career for Foster and you cannot think of a better choice. Chris O'Dowd matches Foster well as the fiery David Walsh and his growing dismay at watching this man destroy the sport he loves is glorious. An equally hungry man, Walsh has the bit between his teeth when he looks to expose a fraud. Guillaume Canet also deserves credit for his underused role as the charismatic cheat Michele Ferrari.

The Program is a picture that should have been far more but based on Foster's performance and the sheer controversy of its subject it sufficiently entertains.

In The Heart Of The Sea: Review of The Finest Hours

The Finest Hours

Dir: Craig Gillespie

By Alex Watson

If you are looking for a middle of the road rescue thriller then The Finest Hours may just be the picture you are looking. This picture is a solid effort from director Craig Gillespie that offers some decent thrills to mask its lack of depth. The efforts of four men to save dozens in a little known but frankly remarkable rescue make for a great subject, it's just a shame it's in the wrong hands. Although it entertains well, this picture will be unlikely to stick in your mind after the credits roll.

Bernie Webber (Chris Pine) is a member of the Coast Guard in Chatham, Massachusetts but he is soon brought into an event that could have fateful consequences. The oil tanker 'The Pendleton' has been split into two in the rough ocean and the surviving crew led by Ray Sybert (Casey Affleck) are clinging on for dear life. Despite feeling a reluctance, Bernie along with other crewmen Richard Livesey (Ben Foster), Anthony Fitzgerald (Kyle Gallner) and unprepared Seaman Ervin Maske (John Magaro) go forward into the great unknown.

The need for survival is one aspect that is made obvious in The Finest Hours and smartly Gillespie opts to keep his heroes low key. Bernie is an ordinary and slightly nervous guy who is set to marry his sweetheart Miriam (Holliday Granger) but by Coast Guard Regulations he has to ask permission. Sadly although we like the guys in the boat, we never properly get to know them. There is a talk of a failed rescue mission that put strains on several community members but full details are never really disclosed. Likewise with the men of the Pendleton, Sybert and co fit the usual ship stereotypes with the unsocial leader and the gruff and tough veteran (Graham McTavish). Gillespie fails to understand that to connect with a drama like this we need to our crew.

After a lot of back and forth huffing by commander Cluff (Eric Bana), the crew is sent out into hell, despite the locals assurance that they will not return due to the harsh conditions. The men's bravery is something to admire and as Bernie denotes "They say you have to go out, they don't say you gotta come back!" Gillespie invests too much of the movie back on land watching the men spout their nautical speak when the picture is crying for something larger. The men of Pendleton, however, have an equally bleak task of keeping a heavy ship from sinking below. Gillespie's enthusiastic camera work glides through the different layers of the ship and we get the sense that time is being borrowed.

At sea is where The Finest Hours feels most comfortable and the action here gives events a real spark. Heading into choppy waves and surrounded by 60 MPH winds, the task seems impossible but through the excellent cinematography by Javier Aguirresarobe, it gives sufficient thrills. Their tiny boat battles continuous rolling waves while the Pendleton struggles to keep their heavy wreck afloat. Even though they keep getting told to give up, Bernie and co show a strength that is heartwarming. It seems incredible that a 36-foot boat was able to achieve such a task when on other days it could have perished. Gillespie keeps us well entertained but this kind of heroism deserves more fitting treatment.

Chris Pine again proves to be a capable and likeable lead as Bernie Webber, although this time he is free of the cocky heroism we have to expect from him. Playing his character as a troubled but coping sailor, Pine is able to stamp his characters authority when most needed. Though this role doesn't feel like one that tests his ability. As the emotionally vacant Sybert, Casey Affleck is by far the standout performer. Unattached from his crew because he needs to act not argue, Ray resorts to erratic measures to assure safety for his men and through Affleck he feels most believable lead of the bunch.

Craig Gillespie does a solid job on The Finest Hours but unfortunately, he is unable to raise this past being the standard Disney thriller. In places, this story entertains but it is not one of the memorable efforts you will see in 2016.

Best Kurt Russell Roles

Snake Plissken: Escape From New York

Sporting possibly the most original name in film, Russell was cool personified as the former special forces soldier. Making the eye patch look like a must have accessory, Snake is the anti-hero that the 1980's needed and through his almost breathless speech, he stands firm to authority.

https://www.youtube.com/watch?v=kgHZubM7M-I



R.J MacReady: The Thing

John Carpenter succeeded in getting two career high performances out of Russell and as R J MacReady this pairing brought Carpenter's 1982 horror piece to life. Stuck in a nightmare out in the Antarctic wildness with a shape shifting monster lurking close by, MacReady is the one member bold enough to take control when all are losing their heads.

 https://www.youtube.com/watch?v=oZzS9hBwaqg


Dean Proffitt: Overboard

A reminder of his great comic talents, Russell teamed up with his long time partner Goldie Hawn in this 1987 comedy. Getting revenge on an amnesiac woman who once wronged him is tough grounds for laughs, but Russell injects so much life into this things he makes all seem so right. Together the pair work like a dream, just don't ask her to cook for you!

Jeff Taylor: Breakdown

In Jonathan Mostow's underrated 1997 thriller piece, Russell proved he was still very much able to anchor a piece. Husband Jeff is left confused and shaken when his wife disappears while on a road trip and no-one seems able to find her. Running afoul of vengeful truckers was a big mistake and as the movie progresses, Russell's performances grows.

https://www.youtube.com/watch?v=2YNlWDv95EY

Stuntman Mike: Deathproof

In what is considered QT's weakest effort, Russell was the strong link. Stuntman Mike is a charming guy when you first meet him. Get into his car and he turns into a very different kind of beast and is fixated on the adrenaline that comes with driving recklessly. Just watching him hungrily plow into another vehicle makes your blood run cold.

https://www.youtube.com/watch?v=sFVDjXr60CU